AUSTIN OSMAN SPARE In The Viktor Wynd Museum of Curiosities, Fine Art & Natural History May 2017 – September 2017 pg 103 – Introduction by Viktor Wynd pg 105 – Austin Osman Spare by Phil Baker pg 121 – AOS & Eily by Dr.William Wallace pg 131 – Bette Davis Eyes by Stephen Pochin pg 141 – A Letter from Frank Letchford Self Portrait, 1936. 98 99 Self Portrait, c.1910 (Coloured Chalk on paper). Portrait of The Artist & His Wife, March 26th 1912 (coloured chalks & ink on paper). 100 101 INTRODUCTION “Everything said from the angle of a real collector is whimsical” – Walter Benjamin Few artists have captured my imagination so strongly or held it so long as Austin Osman Spare. I first saw his work in James Birch’s & Alastair Brotchie’s homes over a decade ago & owe them a huge debt of gratitude for the introduction. I started buying & selling them shortly afterwards, building up my own collection as I could. I share my life with his work & can not imagine a day without with out one – indeed it would be an unbearable penalty for me - as I sit at my desk & write this I look up & am entranced by The Flower Girl, then to W.B. Smith, then to a sublime Self-Portrait from 1923 & I have just got of the phone from unsuccessfully bidding on another – I am glad I didn’t buy it because I would have struggled to pay what I did bid, but there again I am feeling slightly nauseous with a sense of an unfulfilled longing & what is obtained without pain does not always bring great pleasure. When I opened my eponymous gallery in the mid noughties I had planned to launch it with an exhibition of Spare but failed to get the material, & have longed to do so ever since – indeed when I opened my museum in 2014 I wanted to open with Spare, & integral to the museum is The Spare Room which to my amazement remains the only permanent display of his work anywhere in the world. The current exhibition is drawn both from my own holdings & significant loans from a distinguished private collection. I am grateful for the help & support of many people in putting together this exhibition & hope that you get a thrill of pleasure similar to mine from the work & the accompanying essays. Viktor Wynd The Spare Room - the only permanent collection of work by Austin Osman Spare on public view in the world. 102 103 AUSTIN OSMAN SPARE by Phil Baker “There must be few people in London interested in art,” the Art Journal told Edwardian readers back in 1907, “who do not know the name Austin Osman Spare.” Before long they might have done better to ask if there was anyone out there who did know the name, weirdly memorable though it is, because Spare had his career upside down: he began as a controversial West End celebrity & went on to underground obscurity in a South London basement. Hard to categorise, impossible to pin down, he remains one of England’s strangest & most enigmatic artists. In the words of an obituary, ‘Strange & Gentle Genius Dies’ in the London Evening News, “You have probably never heard of Austin Osman Spare. But his should have been a famous name.” Spare was born near Smithfield Market in 1886, the son of a policeman, & spent his later childhood & youth in Kennington. Feted as a prodigy, he became the enfant terrible of the Edwardian art scene, where he was hailed as the next Aubrey Beardsley. He experimented with automatic drawing some years before the surrealists, & went on to work as an illustrator & War Artist, but for complex reasons – which would have to include changing fashion, his refusal to embrace modernism, & a lack of the social skills needed to get on in the metropolitan art world – his career foundered Self Portrait, 1937 (pastel on paper). 104 105 in the early Twenties. Having been “the darling of Mayfair” he One of the stranger & more hyped stories about Spare’s began to fall back into working-class life south of the river, career involves a request from Hitler for a portrait, possibly moving to a Borough tenement block & living, as he put it, as through a member of the German embassy staff; Spare a “swine with swine.” seems to have refused on principle, & briefly became a hero in the local papers. When his studio was bombed during Increasingly reclusive & living outside of consensus reality, the worst night of the blitz, 10th May 1941 – the night the Spare spent the Twenties voyaging into automatic & “psychic” Elephant & Castle area was completely devastated, with drawing, only to find a new identity thrust on him in the record casualties – he referred to it as “Hitler’s revenge”. Thirties as the first surrealist (“FATHER OF SURREALISM – Spare suffered a great loss of work in the blast, with perhaps HE’S A COCKNEY” said a newspaper headline in 1936). This a couple of hundred pictures & particularly his local portraits. sensational & more than slightly tongue-in-cheek claim was In some cases portraits & their subjects probably perished based on his experiments with automatism, but unfortunately together in the same night. it didn’t mean he was hanging out with Salvador Dali & Andre Breton, dispensing avuncular advice. Instead he was trying to Mutating beyond straight portraiture, Spare was also sell his Surrealist Racing Forecast Cards through a small ad in producing exquisite stylizations of film stars such as Mary the Exchange & Mart. Pickford & Jean Harlow, using an anamororphic technique of altered perspective that he called “siderealism”, along Now based in a studio above the Elephant & Castle with Pan-like “satyrizations” of male faces, often modelled Woolworth’s, Spare was developing a particularly strong line in on real-life locals. One of the extraordinary things about pastel portraits of local Cockneys, like his picture of a flower- Spare’s art is the chameleonic range of styles & modes, seller. She is more conventionally attractive than many of the including automatic drawing – which itself ranges from Cockney portraits, which often featured working men & in fertile scribble, with vague faces materialising, to the more particular elderly women, with whom Spare had a particular developed characters of Spare's early Twenties albums sympathy; he had a lifelong principle that what he looked for in A Book of Automatic Drawing & The Book of Ugly Ecstasy. portrait subjects was “character & not beauty”. He also had a At the same time Spare’s more traditional draughtsmanship deep & heartfelt line in self-portraits, & was said to have done led to comparisons with Old Masters such as Michelangelo as many as Rembrandt. His own face had as much character & Durer, often by people outside the art world who were as anyone’s, manifest in the ambitious & somewhat wary, surprised to find “real art” was still being made. The difficulty hunted-looking young man from around 1919, still unsure of of getting to grips with Spare’s work on its own terms has his place in the world; the unfazed stoic in the white scarf, led to similarly excitable comparisons pointing forwards: characteristic of Spare in later life; & the warmer & more not only was he credited as Britain’s proto-surrealist in the charismatic study from 1936, looking thoughtful & a little Thirties, but in the Sixties art critic Mario Amaya (a pop- put-upon. art specialist, shot & wounded alongside Andy Warhol when Valerie Solanas tried to assassinate him) saw him as Britain’s first pop artist. 106 107 Bob, 1930's. Winged Nude, 1921 (Pencil on Paper). 108 109 Spare’s output also includes overtly occult work, & his And when the American writer William Seabrook – alcoholic, involvement with the occult has kept his memory alive in sado-masochist, cannibal, & sensationalistic explorer of some quarters & yet marginalized him. At the core of his voodoo & witchcraft – taught himself even plain Pitman innovative approach to magic was an attempt to manipulate shorthand as a teenager in the first decade of the twentieth his own unconscious, giving his wishes the demonic power of century, he felt himself escaping (as if to “war, to jungles, complexes & neuroses & nurturing them into psychic entities, to deserts, & ultimately to drink”) into its “mysterious, like the older idea of familiar spirits. In order to talk to his beautiful, secret, hieratic” script. unconscious in a language he thought might get through to it, Spare developed the experimental scripts that can be seen at There is a less encoded occult engagement in the the foot of his magnificent study of a woman holding a crystal extraordinary 1910 drawing featuring an idealised self- ball, with a line of “sigils” (a condensation of words, based on portrait of a handsome youth with ram’s horns, beside the principle of the artist’s monogram, & intended to bypass a hermaphroditic devil figure with an austere, hieratic the conscious mind) & then four more elegant lines of the dignity. Aligned with his very organic-looking horns, the “alphabet of desire.” devil is stretching oddly-shaped wings upwards, their shape perhaps making more sense if they are represented Part of mankind’s long history of trying to control reality both as unfurling – with a sideways, elbow-type movement with writing, Spare’s experiments with script also make suggestive to modern viewers of a bygone disco monstrosity, him a precursor of the “hypergraphics” movement of the ‘the funky chicken’ – & at full vertical stretch, anticipating Fifties, associated with the Lettrists in France. They are no the simultaneous depictions-in-time of the Futurists, like less part of the long fascination, particularly in magic, with Giacomo Balla’s dynamic dog with its moving legs in multiple arcane lettering as the writing of otherness, both external & positions at once.